'Borderland' (detail) from 'Granslndet' glass installation, 2002 ht 67 cm
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Detail from 'Granslndet' glass installation, 2002 ,glass, ht 80cm
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phetically, in glass for Boda Glassworks. Even then, at the start of his career, Engman’s playful and ingenious approach to design was evident to his mentors.
Engman bases the symbolic or mythic world, portrayed
in his exhibition pieces, on themes he has long borne within him. The Temple of Dreams, for instance, with its guardians of Fantasy Land manning their posts under billowing canopies, is one of the many themes he developed during the late eighties. Thematic exhibitions such as this, served to promote his more everyday production pieces at Kosta Boda, such as the successful Bon Bon (1990) and Cancan (1991), which were first tested as bitplayers in exhibitions built around a central theme.
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| Circus, a theme developed in the early nineties, featuring
clowns and a genuine sawdust ring, was another imaginative
exhibition setting. Engman, who is a master of the
installation, used the format to display practical, everyday
wares side by side with one-off pieces of the highest
artistic calibre. These installations are superb examples
of scenography and generate immense public response.
The 1996 Chakra theme, or the Wheel of Life, was a
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